Editing: where to pull down the REAL money (and it ain’t features)

To those considering the idea of Hollywood editing paychecks: they ain’t what they used to be. And paychecks are FAR from the only reason to edit… but to those of us who do it for a living, they’re a big deal. And they could end up being a big deal to you too.

I always thought feature film editors made a bunch of money. Like $300k, half a million per picture, etc. Well, that was much more common in the 1980’s and 90’s. And per a discussion that happened this week in The Power Edit on FB (a group that you should join), a handful of editors still command those prices. But that’s for big studio stuff.

The vast majority of feature films that get made today are not big or studio. According to first-hand knowledge posted on the string:

Average weekly pay for editors on indie features of $1M-2M: $1500-$2000/week.

Weekly editor pay for indie features $500K-$1M: as low as $1000/week.

Editor pay for indies under $500K: IOUs and cold pizza.

And for the scripted TV world…

Average editor pay for first season network scripted show: $3100/week. Also comes with 60-hour weeks and usually significant political drama with decreased creative autonomy.

$3200-$3800/week. Usually 50-hour weeks or less. Equal potential for political drama depending on the show and producers, but significantly more potential for creative contribution and autonomy.

In my discussions with international editors, these numbers tend to hold true around the world in Europe, Australia, and Canada.

I realize these numbers speak to a very specific niche of editors – and to earn these numbers at all in the US, you usually have to live in Los Angeles or New York. And life here in LA is expensive. What might seem like big fat paychecks disappear quickly if you’re not careful. Plus these jobs are almost exclusively freelance, so you have no guarantees of regular work compared to being on staff somewhere.

But what about everyone else who edits for individual clients outside major media centers? That, my friend, is a no-man’s land of feast or famine, more likely famine. Why? Because the barriers to entry are lower and lower as technology marches forward. The client’s kid can “shoot something on his cell phone that looks just as good as what you charged me $5000, and it’s only going up on the web anyway.” A whole other frustrating discussion for sure.

But in the meantime, beware of that Greener Grass syndrome. If you aspire to edit feature films because you think they’ll make you rich, you may need to come up with a Plan B.

In all seriousness, consider reality/unscripted television. Hundreds of channels of TV need a never-ending supply of content, and those shows need editors who can tell stories well, often with less-than-stellar source material. But that’s the ongoing challenge, and those do edit well get paid very well.

Fair warning: cutting unscripted content requires a whole other set of skills that you will hardly ever learn in film school or anywhere else other than on the job. Or by picking the brains of successful editors, either in person or by checking out books like this one.

To reiterate an idea: don’t get into editing just for the money. So many more things factor into it than that. But you can absolutely end up making a really good living in the process – if you want it badly enough.

Introducing “Edit Better: Hollywood-Tested Strategies for Powerful Video Editing,” the latest book from author and Hollywood TV editor Jeff Bartsch. If you consider yourself an advanced hobbyist or growth-minded pro, you need this book. If don’t love it for any reason whatsoever, we’ll refund you double what you paid.

Imagine pushing a magic button in your video editing software labeled “BETTER.” Any project you edit turns out exactly how you planned, every single time. Your audience is absolutely spellbound, wiping tears from their eyes, laughing out loud, or sitting in stunned silence as they see the world in a different way for the first time.

Bad news: that button doesn’t exist. Good news: EDIT BETTER shows you how to get there anyway...

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Praise for EDIT BETTER and Jeff Bartsch

Jeff is the real deal, and so is his take on the process. Even though the process can take years to grasp, let alone master, Jeff breaks it down in the most accessible fashion. Pay attention and you will not just learn how to edit better, but how to edit best.- Tom Costantino, Editor, Los Angeles, CA (credits include CSI: Miami, Survivor, and Mysteries of Laura, a new scripted drama starring Debra Messing)

Simply outstanding! A very easy read, clearly a professional's POV, and here's one of many things I love about it: even though I'd say I knew or practiced about 90% of what you've written, man, the 10% I didn't know or hadn't thought of the way you've presented it is unbelievably helpful. Anybody, from seasoned pro to newbie is going to find it very helpful. I'd even go so far as to describe it as essential reading for the 21st century editor. Please quote me on that. Lovin’ it, dude, you’re a badass!– Harold Houze Jr., Editor, Los Angeles, CA/New York, NY (credits on CBS, FOX, ESPN, MTV, many others)

Jeff is one of the most talented and trusted editors I have ever worked with. I think anyone considering the opportunity to learn from Jeff should leap at the chance.– Frank Sinton, Executive Producer/COO A. Smith & Co. Productions, Former VP Programming FOX Sports Net, Former VP Programming Disney Channel

When I want to captivate and wow an audience, I turn to Jeff. And if you are serious about telling stories that resonate powerfully with your audience, I recommend you do the same.– Jan Landis, 8-time EMMY-winning Television Producer, Dr. Phil/ABC/TV Guide Network

Jeff has an amazing ability to flesh out concepts that previously only lurked hazily in the back of my editorial mind. I've learned more about the craft of editing from reading his insights than I ever learned in four years of film school.– Chuck Gonzales, Producer/Editor, Houston, TX

We help amateur and pro video editors reach the next level of creativity in your editing, no matter your editing tools.

Praise for Edit Better

LOVING your book. It’s so refreshing to read a book about editing and not Avid vs. Final Cut. – Jeremiah Daws, Freelance Editor, Los Angeles, CA

Very, very well written. You hit so many very important considerations an editor would have without going anywhere near arguments about tools. Well done, indeed. –Joe Pena, Independent Producer/Media Specialist, Chicago, IL

I'm only half way through, but I wanted to give it a glowing review thus far. It's a wealth of great information. This book has already given me my monies worth. Thanks, Jeff. –Earl Martin, Writer/Director, Watertown, WI

Got my signed copy of "Edit Better" on display in my office. I've already had one teacher thumb through it and decide she needs to buy her own copy...it's that good! –Ed Zimmerle, Media Producer and Consultant, Fort Dodge, IA

The amount of knowledge Jeff has and the way that he communicates it instantly makes your editing prowess that much better. The information Jeff gives from experience is usually found in conversations with editors in edit bays, not readily available in text.– James Gregg, Freelance Editor/Videographer, Linden, NJ